. . . much to admire and even love here: the relatively swift outer movements, the genuinely awe-ful "Marschmässig" at the start of "Denn alles Fleisch", and the genteel, beneficent relaxation of its interlude, like peasants by Poussin -- and you could feel the character of text, sound and interpretation even with the sound off, just as Karajan's hands build, mould and then smother a conflagration on the same movement's final chord . . . José Van Dam is . . . perfect for the minatory dialogue between timpani and horns and its subsequent, syncopated fragmentation . . . this is a loving document of a work, time and place.